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John Woodrow Wilson

From Wikipedia, the free encyclopedia

John Woodrow Wilson
Wilson in 1986
Born1922
DiedJan 22, 2015[1]
NationalityAmerican
EducationTufts University

John Woodrow Wilson (1922–2015) was an American lithographer, sculptor, painter, muralist, and art teacher whose art was driven by the political climate of his time. Wilson was best known for his works portraying themes of social justice and equality.

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Transcription

Episode 29: Progressive Presidents Hi, I’m John Green, this is CrashCourse U.S. History and today we’re going to finish our discussion of Progressivism, and indulge in a bit of “great man” history. Mr. Green, Mr. Green! Great man history, huh? Well I was born on a sunny, summer morning in 197-- Yeah you’re not great, Me from the Past. Also, you’re a boy not a man, and the only historically significant thing you ever participated in was a brilliant senior prank that wasn’t even your idea. However, 39 of our 43 presidents were, at least arguably, great men and today we’ll be talking about three of them. It will be kind of like a Jefferson vs. Hamilton for the 20th century, except not like that at all. But there will be a canal, and TWO people get shot. Intro So, as we saw in CrashCourse World History, national governments were on the rise from the middle of the 19th century until basically now. And in the U.S., Corporations became national and then, by the twentieth century, international. Like, the British East India Company was kind of an international corporation, but it wasn’t the same as Coca-Cola, although they did both deal in narcotics. And this mania for nationalization even affected sports. Like, in baseball, the National league and the American league were formed and in 1903 they played the first inaccurately named World Series. I’m sorry, was Botswana invited? Then it’s not a World Series. Anyway, the rise of a strong, national government was seen as an alternative to people’s lives being controlled by provincial city and state governments or by ever-growing corporations. Like, Herbert Croly, editor of the New Republic, thought that to achieve the Jeffersonian democratic self-determination ideal of individual freedom, the country needed to employ Hamiltonian government intervention in the economy. And he wasn’t the only one who believed that. Okay, so in 1901, 42-year-old Theodore Roosevelt became the youngest American president ever after William McKinley was assassinated by Leon Czolgosz. Czol--? Czolg--? Czol--? Hold on. “Czolgosz. Polish.” Czolgosz? Czolgosz? His name was Leon Chuckles? Man, Leon Chuckles was a real barrel of laughs for an anarchist. Usually they’re very serious. Right, so Leon Chuckles paved the way for Teddy Roosevelt, who in many ways the model of the 20th century president. He was very engaged in both domestic and foreign policy and he set the political agenda for the whole country. His political program, the Square Deal, aimed to distinguish good corporations that provided useful products and services at fair prices from evil corporations that existed just to make money. That is hilarious. A corporation that doesn’t exist just to make money. That’s fantastic, Teddy. Everybody knows that corporations are just inherently greedy people, but they are people. Roosevelt felt it was the federal government’s responsibility to regulate the economy directly and to break up power of wealthy corporations, and he used the Sherman Act to prosecute bad trusts such as the Northern Securities Company, which was a holding company created by J.P. Morgan that directed three major railroads and monopolized transport. And that did not make J.P. Morgan a happy bunny. Thank you for that, Stan. That’s, that’s wonderful. Shockingly, the legislative and executive branches managed to work together and Congress passed some actual legislation, including the Hepburn Act of 1906, which gave the Interstate Commerce Commission the power to regulate railroad rates and examine their company books. And Roosevelt was also a conservationist. He wanted to preserve the environment from economic exploitation, probably so that there would be plenty of animals for him to hunt with his big stick while he walked softly. Having appointed noted progressive Gifford Pinchot head of the forest service, millions of acres were set aside for new, highly managed national parks reflecting the progressive idea that experts could manage the world. But then in 1908, Teddy Roosevelt decided to go elephant hunting instead of running for re-election and he picked William Howard Taft to be his successor, but the man who became our largest president massively disappointed Roosevelt. When I say “our largest,” by the way, I don’t mean our greatest. I mean our largest. Taft was a pretty hard-core trust-buster who ordered the prosecution that broke up Standard Oil in 1911, but he didn’t see big business as bad unless the corporations stifled competition. He also supported the 16th amendment, allowing Congress to pass an income tax, and that paved the way for the 18th amendment, Prohibition, because with an income tax, the federal government didn’t have to rely on liquor excise taxes. So, why didn’t Roosevelt like Taft? Well, not only was Taft more conservative than most progressives, he also fired Pinchot in 1910. And Roosevelt was so frustrated with Taft that he actually challenged the incumbent president for the Republican nomination in 1912. Which Roosevelt lost, but he didn’t let it drop. He founded his own Progressive Party, called the Bull Moose Party so that he could run again. So, the election of 1912 featured four candidates: Taft; Teddy Roosevelt for the Bull Moose Party; Eugene Debs, for the Socialist Party; and Democrat Woodrow Wilson. It’s worth noting that in contemporary American political discourse, all four of these people would have been seen as somewhere between crazy liberals and actual communists. So Eugene Debs, from right here in my home state of Indiana, did not support the Socialist Party’s goal of abolishing capitalism, but he ran on a platform that included public ownership of railroads and banks, and laws limiting work hours. And running on the socialist ticket, Debs won 6% of the vote, which was, to quote another president, “not bad.” But the election of 1912 turned out to be a contest between Wilson and Roosevelt’s competing views over the dangers of increasing government power and economic concentration. Wilson claimed, “Freedom today is something more than being let alone. The program of government must in these days be positive, not negative merely.” That’s just not good grammar, sir. His program, called New Freedom, was supposed to reinvigorate democracy by restoring market competition and preventing big business from dominating government. It included stronger anti-trust laws and policies to encourage small businesses. Roosevelt’s answer to New Freedom was a program he called New Nationalism, because, of course, in election years all things are new. Roosevelt recognized the inevitability of big business and hoped to use government intervention to stop its abuses. New Nationalism included heavy taxes on personal and corporate fortunes and greater federal regulation of industries. So, the Bull Moose Party platform was in some ways a vision of a modern welfare state, it called for: Women’s suffrage Federal regulation National labor and health legislation for women and children Eight hour days and living wage for all workers National systems of social insurance for health, unemployment, and old age What are we, Canada? God, I wish we were Canada...You weren’t recording that, were you, Stan? Roosevelt thought his party’s platform was one of the most important documents in the history of mankind, and Americans agreed, they supported him and elected him in a landslide. Oh wait, no they didn’t. Instead, he lost. And also, a guy shot him at one of his campaign stops, that’s shooting #2. Roosevelt however survived and even went on to make the speech after being shot. What happened in the election is that Taft and Roosevelt split the Republican vote, leaving Woodrow Wilson president with a mere 42% of the popular vote, giving us our only democratic president between 1896 and 1932. Oh, it’s time for the mystery document? The rules here are simple. I guess the author of the mystery document. If I’m wrong, I get shocked by the shock pen, which many of you insist is fictional, but I promise, it’s not. “The two things we are fighting against, namely, excessive tariffs and almost universal monopoly, are the very things that these two branches of the Republican party both decline to combat. (...) They intend to accept these evils and stagger along under the burden of excessive tariffs and intolerable monopolies as best they can through administrative commissions. I say, therefore, that it is inconceivable that the people of the United States, whose instinct is against special privilege and whose deepest convictions are against monopoly, should turn to either of these parties for relief when these parties do not so much as pretend to offer them relief.” Alright, it’s definitely about the 1912 election. It talks about the Republican party being split into two parts, so it’s by a democrat. Or a socialist, but probably a democrat judging from the Mystery Document itself. You always make it hard, Stan. So it’s not going to be Woodrow Wilson because that would be obvious, but I do not know the names of any other prominent democrats, so I am going to guess Woodrow Wilson. YES? Get in! So, with its stirring anti-tariff, anti-monopoly, do not pass GO, do not collect $200 stance, New Freedom won out, and because the Democrats also controlled Congress, Wilson was able to implement this program. The Underwood Tariff reduced import duties and after the ratification of the 16th amendment, Congress imposed a graduated income tax on the richest 5% of Americans. Other legislation included the Clayton Act of 1914, which exempted unions from antitrust laws and made it easier for them to strike; the Keating-Owen Act, which outlawed child labor in manufacturing; and the Adamson Act which mandated an eight hour workday for railroad workers. If Wilson’s New Freedom sounds a lot like Roosevelt’s New Nationalism, that’s because they ended up being pretty similar. Wilson engaged in less trust busting than expected, and more regulation of the economy. Wilson didn’t institute a national system of health and unemployment insurance, but he did expand the powers of the Federal Trade Commission to investigate and prohibit unfair monopolistic practices. He also supported the founding of the Federal Reserve System in 1913, which gave the government much more control over banks in response to the Panic of 1907 where the U.S. had to be bailed out by J.P. Morgan. Fear not, big banks, the government will bail you out in due time. So, under Roosevelt, and Wilson, and to a lesser extent Taft, Progressivism flourished domestically, but it also became an international phenomenon as presidents expanded national government power outside the country’s border, mostly in the Western Hemisphere. Like, between 1901 and 1920, U.S. marines landed in Caribbean countries over 20 times, usually to create a more friendly environment for American businesses, but sometimes just to hang out on the beach. And this points to an interesting contradiction, Progressive presidents were very concerned about big business as a threat to freedom in the United States, but in Latin America and the Caribbean, they weren’t that concerned about freedom at all. Teddy Roosevelt especially was much more active in international diplomacy than his predecessors. He was the first president to win the Nobel Peace prize, for instance, for helping to negotiate the Treaty of Portsmouth that ended the Russo Japanese War in 1905. You may be familiar with his motto, “Speak Softly and Carry a Big Stick” – which essentially meant “the U.S. will intervene in Latin America whenever we want.” And probably the most famous such intervention was the building of the Panama Canal. It featured feats of engineering and succeeding where the French had failed...Stan, these are my favourite things! Let’s go to the Thought Bubble. The way we got the 10 mile wide canal zone wasn’t so awesome. In 1903, Panama was part of Colombia but the U.S. encouraged Philippe Bunau-Varilla to lead an uprising. Bunau-Varilla, a representative of the Panama Canal Company, was so grateful after the U.S. sent a gunboat to ensure that the Colombian army couldn’t stop him that he signed a treaty giving the U.S. the right to build and operate the canal and sovereignty over newly independent Panama’s Canal Zone, which we gave up in 2000 after enjoying nearly 100 Years of sovereignty thanks to Carter’s stupid altruism. Roosevelt also added the Roosevelt Corollary to the Monroe Doctrine, the 1823 statement that the U.S. would defend independent Latin American states from European intervention. Now, according to Roosevelt, we would wield our big stick like a policeman waving around a nightstick exercising an “international police power” over the western hemisphere. In practice, this meant using American troops to ensure that Latin American countries were stable enough for Americans to invest there. Like, in 1904 we seized the customs house in the Dominican Republic to make sure that they paid their debts to investors, then by “executive agreement” American banks got control of the DR’s finances. Roosevelt also encouraged investment by the United Fruit Company in Honduras and Costa Rica, helping to turn those nations into Banana Republics. No, not the store, Thought Bubble. Yes. Taft, on the other hand, maybe because of his experiences as governor of the Philippines, was less eager to wave America’s Big Stick. He emphasized loans and economic investment as the best way to spread American influence in a policy that came to be known as Dollar Diplomacy. Ultimately, Dollar Diplomacy was probably more effective, but it seemed weak to many people in contrast to Roosevelt’s strategy of SEND ALL THE TROOPS RIGHT NOW. Thanks, Thought Bubble. I wore my Banana Republic shirt just for this occasion. So, we’ve discussed Roosevelt and Taft’s foreign policy. Let’s move on to Wilson, who was, of course, an isolationist. No. Woodrow Wilson. Okay. Woodrow Wilson was not a volleyball. He was the son of a Presbyterian Minister, a former American history professor and once had been governor of New Jersey, so he understood moral indecency. Wilson thought the best way to teach other countries about the greatness of America was to export colossal amounts of American products. Like, in 1916, he instructed a group of businessmen, “Sell goods that will make the world more comfortable and happy, and convert them to the principles of America.” In short, Woodrow Wilson believed correctly that the the essence of democracy is the freedom to choose among hundreds of brightly coloured breakfast cereals. Still, Wilson intervened in Latin America more than any other U.S. President and his greatest moral triumph was in Mexico, where he wanted to teach the Mexicans “to elect good men”. To do this, Wilson sent troops to stop weapons from flowing to the military dictator Victoriano Huerta but the Americans, who landed at Veracruz were not welcomed with open arms, and 100 Mexicans and 19 Americans were killed. And then in 1916, having learned his lesson (just kidding), Wilson sent 10,000 troops into northern Mexico to chase after revolutionary bandit Pancho Villa. Villa had killed 17 Americans in New Mexico. And everyone knows that the proper response to such a criminal act is to send 10,000 troops into a foreign country. Pershing’s expedition was a smashing success fortunately…except that he actually did not capture Pancho Villa. But all of that was a prelude to Wilson’s leading America to our first international moral crusade, our involvement in the Great War. So, this period of American history is important because Roosevelt, Taft, and Wilson oversaw the expansion of the power of the federal government both at home and abroad, and in doing so they became the first modern American presidents. I mean, these days, we may talk about small government and large government, but really, we’re always talking about large government. Roosevelt, Taft, and Wilson recognized that the national government was going to have to deal with big business, and that it would have to get big to do that. And also that it had a role to play in ensuring that Americans would retain some freedom in this new industrial era. And they also built neo-imperialistic foreign policies around the idea that the safer the world was for American business, the better it was for Americans. As our old friend Eric Foner wrote: “The presidents who spoke the most about freedom were likely to intervene most frequently in the affairs of other countries.” Sometimes for good and sometimes for ill, we’ll see an extreme and ambiguous case of that next week when we look at America in World War I. Thanks for watching. I’ll see you then. Crash Course is produced and directed by Stan Muller. Our script supervisor is Meredith Danko. The associate producer is Danica Johnson. Our show is written by my high school history teacher, Raoul Meyer, Rosianna Rojas, and myself. And our graphics team is Thought Café. Every week, there’s a new caption for the libertage. If you’d like to suggest one, you can do so in comments where you can also ask questions about today’s video that will be answered by our team of historians. Thanks for watching Crash Course and as we say in my hometown, don’t forget to be awesome.

Family and early life

Wilson, commonly referred to by his professional name John Woodrow Wilson, was born the second of five children in Roxbury, Massachusetts in 1922.[2]) Both of Wilson's parents were immigrants from British Guiana, a British colony in South America that is known today as Guyana.[3] They emigrated to America a few years before Wilson was born.[3] British Guiana had a plantation-based economy with sugar being the main good produced.[3] In the colony, Wilson's parents came from a middle-class background.[3] Wilson's maternal grandfather managed a refining plant in British Guiana and the sugar produced at his plant was so pure that the owners of the plantation, who lived in Great Britain, received national prizes almost annually.[3] Wilson's maternal grandfather was transferred to Jamaica, so all of his children except for Wilson's mother, who at that point was married and already had their first daughter, relocated there.[3] Wilson's father stayed in British Guiana because he had been trained as a technician in the sugar industry.[3] One of Wilson's paternal great aunts died when his family was still living in British Guiana.[3] The woman was very rich and left each of her nieces and nephews a portion of her wealth.[3] Wilson recalls his father telling him this woman "was so wealthy, she left money to her cats."[3] His father used the money his aunt gave him to open up a variety store.[3]

Wilson was very aware of the racial inequalities that surrounded him, even at a very young age.[4] In a 2012 interview, Wilson talked about remembering the newspapers his father would read, like The Amsterdam News, which had images of lynchings in "every other issue."[1] A mix of his political views and his intense interest in art led him create the important political statement pieces that he makes through the later years in his life.[4]

Education and career

In Boston, Wilson took art classes at Roxbury Memorial High School and was the art editor of the school newspaper.[2] He also took many classes at the Boys Club from teachers who were students at the school of the Museum of Fine Arts.[2] After getting his work shown to faculty at the school via his teachers from the Boys Club, he received a full scholarship to the Museum of Fine Arts School, eventually graduating with high honors in 1945.[4] In 1947, Wilson graduated from Tufts University while teaching at Boris Mirski School of Modern Art.[4] He won the James William Paige Traveling Fellowship and moved to Paris soon after.[5] Wilson lived in Paris through the MFA fellowship and studied with the modern artist Fernand Léger.[3] After returning from Paris, he joined the faculty of the museum school in 1949 where he was to teach second-year painting and some elementary courses.[6]

In 1950, he married Julie Kowtich, a teacher who had graduated from Brooklyn College.[7] Wilson and Kowitch were an interracial couple and were forced to drive in separate cars when they traveled in the Southern United States.[1] He won a John Hay Whitney fellowship, and the two lived in Mexico for five years. Wilson looked up to Mexican painter José Clemente Orozco, whose work focused primarily on political murals that inspired Wilson. Orozco had already passed away when Wilson arrived.[1] In Mexico, Wilson was drawn to mural paintings due to their accessibility to anyone regardless of one's means to get into museums or collections.[3]

Artist Elizabeth Catlett was also living, painting and sculpting there. She was studying printmaking at the Taller de Gráfica Popular (Graphic Arts Workshop), where Wilson also studied the technique.[8] Chicago artist Margaret Burroughs wrote about visiting them both in 1951.[9] When Wilson returned to the United States in 1956, he made artwork for labor unions in Chicago and taught for a bit in New York City before returning to Massachusetts in 1964 to teach at Boston University.[1] He stayed there until 1986.[7]

Julie Kowitch says that her husband, "felt that his main objective as an artist was to deliver a message to people about black dignity, about racial justice, about poor people trying to get a better deal in life."[1] Wilson's daughter, Erica, said that he drew wherever he went and whatever he could find. For example, when driving to New York City with Erica and her son, Wilson drew a series of sketches of his infant grandson.[1]

Exhibitions and awards

By the time he was in his early 20s, Wilson was winning awards for his work. Soon after he left Tufts, the Museum of Fine Arts added a lithograph "Streetcar Scene" from 1945 into its collection.[7] The image was used for the cover of the exhibition "Alone in a Crowd" in 1992.[10] Smith College purchased "My Brother (1942)" while Wilson was a student at the museum school. It was part of a traveling exhibition that came to the college.[11]

In 1963 artist/educator, Hale Woodruff chose him as one of 24 Black artists to be featured in Ebony magazine's special edition commemorating the 100th anniversary of the Emancipation Proclamation. The article noted that he belonged to the "nation's elite of portrait painters."[12] He was a fixture in the annual Atlanta University "Exhibition of Paintings, Sculpture, and Prints by Negro Artists of America," which ran from 1942 to 1970. The exhibition, commonly referred to as the "Atlanta Annual" and founded by Woodruff, pulled together works by Black artists from across the United States at a time when white galleries and museums refused to show their works.[13][14] In the early 1970s, some works in the collection were shown in a traveling exhibit.[14][15][16]

At the annuals, the winning artists received payment for their submissions, which became part of the university's art collection. Among Wilson's awards and participation:

1943 - John Hope Award for his oil "Black Soldier."[17][18]

1944 – First Atlanta University Award for "Roxbury Landscape" and the lithograph "Adolescence."[19][20]

1945 – Purchase Award for "Portrait of Clair."[21][22] He received a large number of popular votes for "Black Despair" but did not win the top prize.[23]

1946 – Exhibited but no win.[24]

1947 – First Atlanta University Purchase Award for the oil painting "Church."[25][26]

1948 – Exhibited but no win.[27]

1949 – exhibited but no win.[28]

1950 – Honorable mention for the lithograph "Boulevard de Strasbourg."[29][30]

1951 – Print prize for the lithograph "Trabajador" and runner-up for the Purchase Prize for "Black Despair."[31][32]

1952 – Graphic arts prize for the lithograph "LaCalle."[33]

1954 - Purchase Award for the watercolor "Roxbury Rooftops" and first place in prints for "Mother and Child."[34]

1955 – Top cash award for "Negro Woman."[35][36]

1957 – Second prize in watercolors for "Black Despair" and first prize in prints for "Mother and Child."[37][38]

1960 – Honorable mention in the watercolors category.[39][40]

1961 – Honorable mention in "figures in oil" for "Man Resting" and "landscape in oil" for "Mirmande."[41][42]

1964 - Honorable mention in graphics category for "Urbanites."[43][44]

1965 – First prize in graphics category for "Father and Child."[45]

1966 – Second prize in graphics category for "City Child" and honorable mention for "Black Boy."[46]

1969 – First prize in graphics for "Child with father."[47]

In 1948, his work was among those chosen by Woodruff for a collection being formed by IBM. Others included Romare Bearden, Charles Alston, Jacob Lawrence, Norman Lewis, Frank Neal, Selma Burke, Ellis Wilson, Dox Thrash and photographer Roy DeCarava.[48] In 1969, he was among artists in an exhibit at the Studio Museum of Harlem titled "Fourteen Black Artists From Boston." The works were first shown at the National Center of Afro-American Artists in Boston and the Rose Art Museum of Brandeis University in Waltham, MA.[49][50]

In 1976, the Los Angeles County Museum of Art curated a traveling show titled "Two Centuries of Black American Art" where Wilson was represented.[51][52] His work "Street Children" was entered in the Black Enterprise Winter Art Exhibition in 1978. The works were hung in the magazine's offices.[53][54] In 1992, his drawing "Streetcar Scene (1945)" was featured on the cover of the catalog for the traveling exhibit "Alone in a Crowd: Prints by  African-American Artists of the 1930s-1940s" of works in the collection of Reba and Dave Williams. The exhibit was shown at the Brooklyn Museum, the Art Institute of Chicago and the Baltimore Museum of Art, among others.[10][55][56][57]

In 1995, Wilson had an exhibit of his own work at the Museum of Fine Arts called "Dialogue: John Wilson/Joseph Norman".[1] The exhibit consisted of many of Wilson's sculptures and sketches.[1] In 1996, he was represented in a traveling exhibit titled "In the Spirit of Resistance: African-American Modernists and the Mexican Muralist School" that focused on the influence of Mexico's graphics workshop on Black artists during the 1930s, 1940s and 1950s. Also included were works by Mexican artists and photos of murals by both groups. The exhibit was sponsored by the Studio Museum of Harlem and Mexican Museum in San Francisco.[58][59]

In 2003, he was included in an exhibition of artwork from the Atlanta University collection on display at the Clark Atlanta University Art Galleries and titled "Remembering the Atlanta University Art Annuals."[60]

In 2004, he received the James Van Der Zee award from the Brandywine Workshop in Philadelphia. "I can't remember when I was not doing some sort of visual art," he said at the time. "This career has been very satisfying, gratifying and there is nothing else I could conceive of myself doing."[61][62] In 20l9, the Yale University Art Gallery mounted a traveling exhibit titled "Reckoning with 'The Incident': John Wilson's Studies for a Lynching Mural', which focused on Wilson's 1952 mural that he painted while at La Esmeralda, the national school of art in Mexico. The mural, which no longer exists, shows the lynching of a Black man by the Ku Klux Klan as a Black family looks on. The exhibit contained his sketches, painted studies and related prints and drawings.[63]

Major works

Political pieces

Wilson was championed for his ability to fuse his artistic creativity with his passion for politics and social justice. Wilson's most famous and viewed work is the bronze bust of Martin Luther King Jr. that stands three feet tall in the Capitol Rotunda in Washington, D.C.. He won the sculptural commission in 1985 as part of a national competition to create a memorial statue of the civil rights leader.[1] The bust was revealed in the Rotunda on January 15, 1986, which would have been King's 57th birthday.[1] Although both men have ties to Boston University, they never met. In the original etching, Wilson portrays King's physical presence as a haunting vulnerability coupled with unwavering strength, while symbolizing King's assassination through the crosshairs of vertical and horizontal lines that intersect at King's throat that effectively silence the voice of the prolifically outspoken equal rights activist.[1]

One of Wilson's most overtly politically charged works, a lithograph called "Deliver Us From Evil," was created while he was a student of the School of the Museum of Fine Arts in 1943.[4] In this piece, he comments on the paradoxical nature of World War II, critiquing the United States for fighting for democratic rights in Europe while simultaneously denying African-American citizens those same rights.[1] The left side of the image shows a concentration camp, Nazi soldiers, and Jewish victims, while the right side shows run-down tenement buildings, a lynch mob, and African-American victims.[1] However, despite his criticism of the American government, he did support the war in theory, as he was against fascism and anti-Semitism.[3][64]

Another critical work by Wilson is the lithograph "Streetcar Scene," created in 1945.[1] In this scene, a lone Black man sits on a streetcar, surrounded by white women.[1] While all of the other passengers seem to be absentmindedly looking away into different directions, the Black man looks directly at the viewer.[1] This creates the effect of identification between the viewer and the subject, as it begs the viewer to "ponder the burdens and responsibilities of his wartime life."[1] With this work, Wilson is criticizing Franklin D. Roosevelt's integration of factories.[1] Wilson was quoted saying, "I resented the fact that almost everyone on my block was on welfare until they needed us in the shipyards and factories."[1] The subject of this lithograph is one of the Boston Navy Yard workers, wearing workman's coveralls, a cap, and holding a metal lunchbox, riding alongside fashionable women.[65] The rich color palette is made up of mostly reds, whites, and browns, evoking a feeling of warmth from the painting.[1]

Wilson experimented with other mediums in his earlier years, such as his 1946 ink drawing "Man with Cigarette."[1] The bold lines and shadows in this work in addition to the diagonal composition of the bust create a sense of urgency.[1] The man depicted also seems to share the same sensitive expression that is characteristic of Wilson's portraits, which is used to express Wilson's concerns regarding the African American experience in the United States at the time.[1] He described the country as "a world that promised freedom and opportunity for anyone who worked hard… but clearly if you are black you realize that these nice sounding phrases did not include you."

Wilson's method for creating profound art can be seen in the sketches he made in preparation for the bust of King.[1] The original drawing has been in Boston's Museum of Fine Arts since 1997.[1] When a request was made to display the drawing in another museum for an extended exhibition, Wilson decided to create a print of it rather than expose the original work to the intense lighting in the exhibition space. The result was a "sensitive" depiction of the civil rights hero, which "focuses on King's face, manipulating the rich lights and darks of the etching by scraping and burnishing the plate." He humanizes King by tilting his head and by giving the face "an almost weary expression" that "emphasizes King's profound humanity in his struggle for equality." Eventually, the Museum of Fine Arts purchased this print, along with the copper plate and the nineteen working proofs that Wilson made.[1] This group of works make it possible to understand Wilson's process for making art and are effective in teaching students about printmaking techniques. Wilson's raw and powerful depictions of Martin Luther King, Jr. convey his indirect involvement with the civil rights movement. Even though he did not actively participate in the movement, he did remark that King was "a very important symbol" in his life.[1]

Wilson illustrated several children's books, including Jean C. George's "Spring Comes to the Ocean," 1965; Joan Lexau's "Striped Ice Cream," 1968; Willis Oliver's "New Worlds of Reading," 1959, and one by his wife titled "Becky" in 1967. "Striped Ice Cream" and "Malcolm X" can be found at the Princeton University Library. Additionally, Wilson's drawing "Steel Worker" was used for the cover design of The Reporter on July 23, 1959, and is currently housed in the Princeton University Art Museum.[64] In 1969, one of his paintings was among 27 chosen by author June Jordan for her book of poetry "Who Look At Me."[66]

Influences

In 1952, Wilson made the lithograph "The Trial" depicting a young black man awaiting a pronouncement from three looming white judges.[4] This lithograph is now in the Brooklyn Museum. Wilson was very interested by murals and was influenced by the painted José Clemente Orozco. He saw murals as a way to reach a wider, more diverse audience who did not have the means to visit art museums.[4]

Many artists of the Harlem Renaissance intended their art to make people happy and proud.[1] But Wilson, coming a generation later and living through the Civil Rights Movement in the United States, wanted his art to convey a message and make people think.[1] In an interview with the Boston Globe in 1986, Wilson explained why he sculpted the bust of King in the way that he did.[1] He said "the head is tilted forward, as if to communicate with the viewer. I hope the sculpture will stimulate people to learn more about King, to perpetuate his struggle."[1] When Wilson described the bust, he went beyond the physical markings of the head, saying "to [him] the eloquence of the piece is not only in the face, but in the rhythms of the gesture."[1]

Praise and legacy

Wilson died on Thursday, January 22, 2015, at his home in Brookline, MA. He was 92 years old.[2] His art continues to make an impact.[1] In Wilson's career survey, "Eternal Presence" of 2012, Boston Globe art critic Sebastian Smee said he is one of "Boston's most esteemed and accomplished artists."[1] Following Wilson's intent to spark political discussion, Smee stated that Wilson's sketches and charcoal drawings are "an impulse toward clarity, toward truth."[1] Wilson helped found a museum called the National Center of Afro-American Artists (NCAAA) in Roxbury, where he was born.[67] In this museum is an exhibit honoring his life and work titled "John Wilson Remembered 1923–2015."[67] This temporary exhibit included many of his sculptures and graphic art.[67]

His work was featured around Boston throughout his life, including pieces of art in the Museum of Fine Arts and at Martha Richardson Fine Art.[1]

Wilson's legacy of artistic practice has been carried on by his family. His grandson, Zack Wilson is an upcoming and acclaimed Hip-hop and Jazz musician performing under the Artist name 'Diz,' who is currently based in Boston, Massachusetts. Diz's work is accessible through various music services, and has amassed over one million streams total over his few years releasing music.

Selected Collections

References

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  3. ^ a b c d e f g h i j k l m n "Oral History Interview with John Wilson, 1993 March 11-1994 August 16". Smithsonian Archives of American Art. Retrieved September 28, 2016.
  4. ^ a b c d e f g LeFalle-Collins, Lizzetta (1997). Wilson, John. Detroit: St. James Press. pp. 581–584. ISBN 1-55862-220-9.
  5. ^ "John Wilson". Swann Auction Galleries. Retrieved 2022-08-23.
  6. ^ "Appoint Artist To School Staff". The Chicago Defender. 22 October 1949. p. 4. ProQuest 492883447.
  7. ^ a b c d Blanding, Michael (2022-01-14). "Sculpting a Legacy: The Art and Impact of John Wilson". Tufts Now. Retrieved 2022-08-23.
  8. ^ "John Wilson: sculpture with related prints and drawings". Martha Richardson Fine Art. Retrieved 2022-08-23.
  9. ^ Burroughs, Margaret (18 September 1951). "A Woman's Viewpoint: Negro Artists Active in Mexico". Philadelphia Tribune. p. 6. ProQuest 532016183.
  10. ^ a b "'Alone in a Crowd' at BMA". Afro-American. 14 January 1995. p. A7. ProQuest 2665672887.
  11. ^ a b "John Wilson's My Brother: Seeking Truth in Art". Smith College Museum of Art. 2022-07-18. Retrieved 2022-08-23.
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  26. ^ "N.Y. Artist Awarded $300 in Atlanta University Show: 9 Other Painters, Sculptors, Print-Makers Win Prizes Totaling $1,400 at Annual Event". Afro-American. 12 April 1947. p. 15. ProQuest 531627080.
  27. ^ "New Yorker gets top A.U. exhibit award". Atlanta Daily World. 6 April 1948. p. 3. ProQuest 490852330.
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  35. ^ "Student wins top art prize: John Wilson best in Atlanta U. show". Afro-American. 2 April 1955. p. 7. ProQuest 531946789.
  36. ^ "Top A. U. Award Goes To Mass. Artist; Atlantan Gets Prize". Atlanta Daily World. 26 March 1955. p. 5. ProQuest 491057164.
  37. ^ "Atlanta Artist Gets Prize At A. U. Art Show". Atlanta Daily World. 12 May 1957. p. 8. ProQuest 491113856.
  38. ^ "Figure Painting Award Goes To Philly Artist". Atlanta Daily World. 30 March 1957. p. 2. ProQuest 491109242.
  39. ^ "Atlanta Univ. Exhibition Winners, Prizes Revealed". Atlanta Daily World. 26 April 1960. p. 4. ProQuest 491200239.
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  43. ^ "A. U. Announces Awards In Annual Art Exhibition". Atlanta Daily World. 28 March 1964. p. 8. ProQuest 491311051.
  44. ^ "Top honors awarded to artists at Atlanta University art show". Afro-American. 4 April 1964. p. 10. ProQuest 532199097.
  45. ^ "John Hope award to Floyd Coleman". Afro-American. 17 April 1965. p. 7. ProQuest 532156292.
  46. ^ "Mrs. Simon gets 7th Atlanta award for art". Afro-American. 2 April 1966. p. 17. ProQuest 532201789.
  47. ^ "Atlanta University Bulletin". July 1969. Retrieved 2022-08-23.
  48. ^ Graham, Gladys P (17 July 1948). "Interracial Art Collection Begun By Corporation: Hale Woodruff, N. Y. U. Art Dept. In Charge". Atlanta Daily World. p. 1. ProQuest 490856592.
  49. ^ "Afro-Arts Center artists present Harlem showing". Afro-American. 13 December 1969. p. 16. ProQuest 532272669.
  50. ^ "Harlem Studio Museum Has Black Art Festival". New York Amsterdam News. 6 December 1969. p. 18. ProQuest 226585735.
  51. ^ Tapley, Mel (6 August 1977). "Crowds Attend 'Two Centuries of Black American Art': 'Two Centuries of Black Art'". New York Amsterdam News. p. D1. ProQuest 226496341.
  52. ^ "Two Centuries of Black American Art". Los Angeles County Museum of Art. Retrieved 2022-08-23.
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  54. ^ "Visual arts calendar". New York Amsterdam News. 18 February 1978. p. d12. ProQuest 226415820.
  55. ^ "Alone in a crowd : prints of the 1930s-40s by African-American artists: from the collection of Reba and Dave Williams". Smithsonian. Retrieved 2022-08-23.
  56. ^ "Depression era exhibit at Brooklyn Museum". New York Amsterdam News. 10 February 1996. p. 8. ProQuest 2632193509.
  57. ^ "Display Ad 2 -- No Title". Weekend Chicago Defender. 17 August 1996. p. 15. ProQuest 2557545753.
  58. ^ "Black and Mexican art premieres at the Studio Museum". New York Amsterdam News. 26 October 1996. p. 25. ProQuest 2642580152.
  59. ^ LeFalle-Collins, Lizzetta; Goldman, Shifra M. (1996). In the spirit of resistance: African-American modernists and the Mexican muralist school. American Federation of Arts. ISBN 978-1-885444-01-1. OCLC 1035662293.[page needed]
  60. ^ "CAU Exhibits Work Of Pioneer Artist". Atlanta Daily World. 20 March 2003. p. 6. ProQuest 491824893.
  61. ^ Booker, Bobbi (28 September 2004). "Artists honored with Van Der Zee award". Philadelphia Tribune. p. 6-B. ProQuest 2672403318.
  62. ^ Booker, Bobbi (5 October 2004). "Brandywine Workshop honors 3 visual artists". Philadelphia Tribune. p. 6-B. ProQuest 2666069309.
  63. ^ "Reckoning with "The Incident": John Wilson's Studies for a Lynching Mural". Yale University Art Gallery. Retrieved 2022-08-23.
  64. ^ a b Mellby, Julie (May 3, 2015). "John Wilson 1922–2015". Graphic Arts. Retrieved 2017-01-28.
  65. ^ a b "John Woodrow Wilson | Streetcar Scene | The Met". The Metropolitan Museum of Art, i.e. The Met Museum. Retrieved 2017-01-28.
  66. ^ "Authoress Blends Art and Poetry". Call and Post. 30 August 1969. p. 6B. ProQuest 184395776.
  67. ^ a b c "Welcome to the Museum". The Museum of the NCAAA. Archived from the original on August 7, 2016. Retrieved November 2, 2016.
  68. ^ a b "John Woodrow Wilson". Indiana University Art Museum. 2006.
  69. ^ "John Woodrow Wilson | Deliver Us from Evil". The Met. Retrieved February 1, 2017.
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  71. ^ "Martin Luther King, Jr., John Woodrow Wilson; Publisher: Center Street Studio, Milton Village, Mass". MIA. Retrieved February 1, 2017.
  72. ^ "John Wilson 1922–2015". Graphic Arts Collection: Rare Books and Special Collections, Firestone Library, Princeton University. May 3, 2015. Retrieved February 1, 2017.
  73. ^ "Martin Luther King, Jr". Muscarelle Museum of Art. 2015.
  74. ^ "John Woodrow Wilson: Black Soldier". Retrieved 2022-08-23.
  75. ^ ""Dialogue" / John Wilson 1973". Library of Congress. Retrieved 2022-08-23.
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